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Lanterne Rosse in Laguna Il Cinema Cinese Alla Mostra Internazionale D’Arte Cinematografica Di Venezia

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Lanterne Rosse in Laguna Il Cinema Cinese Alla Mostra Internazionale D’Arte Cinematografica Di Venezia Corso di Laurea magistrale ( ordinamento ex D.M. 270/2004 ) in Lingue e istituzioni economiche e giuridiche dell’Asia e dell’Africa Mediterranea Tesi di Laurea Lanterne rosse in laguna Il cinema cinese alla Mostra internazionale d’arte cinematografica di Venezia Relatore Ch.ma Prof.ssa Elena Pollacchi Correlatore Ch. Prof. Federico Alberto Greselin Laureando Francesca Cabrini Matricola 828270 Anno Accademico 2013 / 2014 INDICE 前言前言前言 3 Avvertenze 7 Introduzione 9 Capitolo primo: Dagli anni Cinquanta agli anni Novanta 12 1.1 I primi film cinesi alla Mostra internazionale d’arte cinematografica di Venezia 12 1.2 Anni turbolenti: 1962 – 1972 20 1.3 “Una motivazione maligna, ignobili sotterfugi” 25 1.4 La Mostra torna all’antico splendore 27 1.5 Nuove onde da Hong Kong e Taiwan 31 1.6 Gli ultimi anni Ottanta 36 Capitolo secondo: Dagli anni Novanta ad oggi 45 2.1 I primi anni Novanta: premesse 45 2.2 Le prime edizioni degli anni Novanta 47 2.3 Tre Cine sulla rotta per Venezia 52 2.4 Passaggi di testimone 56 2.5 La Mostra al volgere del secolo 62 2.6 Gli anni Duemila 70 2.7 L’era Müller 76 2.8 Edizioni recenti 87 1 Capitolo terzo: Un’analisi e una prospettiva 90 3.1 Premesse storiche 90 3.2 Il primato veneziano 94 3.3 Il festival come sistema alternativo autonomo 96 3.4 Il ruolo della censura 101 3.5 Film da festival 103 3.6 I festival come oggetto di ricerca 106 Conclusioni 114 Appendice 116 Bibliografia 133 2 前言前言前言 我的毕业论文是关于中国电影，尤其是那些参加威尼斯国际电影节的华语电影。这篇 文章的目的是分析威尼斯电影节的历史，理解电影节与中国电影的关系， 以便了解为 什么威尼斯对华语电影的传播那么重要。 水城的国际电影节是世界上最早的电影节，被誉为“国际电影节之父”。它是 1932 年 8 月 6 号在威尼斯的海滨浴场创办的。威尼斯电影节是由威尼斯现代艺术双年 展举办的，就是说在每两年举办一次的美术展的范围内产生，可是在第二届之后，基 本上威尼斯电影节都是每年举办一次。大多在八九月举办，为期差不多两个星期。从 开始，威尼斯电影节就受法西斯影响，主要原因是因为本尼托·墨索里尼打算利用威 尼斯电影节为意大利法西斯的合法化进行宣传。但创办的另外一个目的是增加八月末 的旅游率，并且提高全国电影艺术的水平。大部分欧洲国家不同意威尼斯电影节偏爱 法西斯与纳粹电影，所以法国人为对抗这种行为，在法国南部小镇戛纳办起了电影 节：戛纳电影节由此而生。 威尼斯电影节比法国戛纳国际电影节早十四年，比德国柏林国际电影节早十九 年，到今天已经举办 71 届。到目前为止，在意大利的水城威尼斯每年的八月末或九月 初都会举办一届国际电影节，并已经成为世界顶级的三大电影节之一（就是说戛纳、 柏林、威尼斯国际电影节）。 每个电影节都有自己的特点：比如柏林电影节聚焦影片的政治，戛纳电影节关 注商业性与艺术性，追求新锐，而威尼斯电影节却远离喧嚣，强调独立自主的原则和 冒险精神。所以威尼斯电影节更以新奇、独特、天才导演与电影而著称，被称做“电 影大师的摇篮”。威尼斯电影节的活动单元分别列入“正式竞赛”、“逆流而上”、 “影评周”及“特别放映”。“正式竞赛”的主要奖项包括：著名金狮奖（颁给最佳 影片），银狮奖（颁给最佳导演），评审团特别奖与评审团大奖，沃尔皮杯（颁给最 佳男演员与女演员），金奥赛拉奖（颁给最佳编剧与技术人员），马赛罗·马斯楚安 3 尼奖（颁给新锐演员）。其他奖项包括：终身成就金狮奖，国际影评人周奖，最佳短 片的银狮奖等。 此论文是关于华语电影，之所以用“华语电影” 是因为这个定义不仅包含中国 大陆上生产的电影，而且包含香港电影，台湾电影也包含国外生产的中国电影。总而 言之，“华语电影”是有关中国或汉语的电影。 参加威尼斯电影节的华语电影比较多，与戛纳、柏林相比，威尼斯电影节无疑 是中国电影的福地。从八十年代开始，参加威尼斯电影节的华语电影越来越多，每年 至少有几部代表作品。 此论文分三章。第一章介绍华语电影在威尼斯电影节的编年史，具体是从二十 世纪五十年代到八十年代。第二次世界大战之后，威尼斯电影节少了法西斯意识形 态，就可以按一种全新的面貌重生：威尼斯评委们评选的标准聚焦于艺术层面。从这 时开始，威尼斯电影节对东方电影很感兴趣。亚洲电影逐渐崭露头角，首先日本的 《罗生门》、《无法松的一生》和印度的《不可征服的人》，这三部影片在这个阶段 都夺得了金狮奖。此时中国电影在水城的舞台上也出现了：参加电影节的那些影片 （万古蟾与万籁鸣的《乌鸦为什么是黑的》、靳夕的《神笔》）获得了成功。威尼斯 电影节渐渐获得了 “艺术电影节 ”的身分：五十、六十年代夺得金狮奖的影片都带有艺 术气息。那时中国情况较复杂：共产主义已经到了它的顶峰，江青和四人帮控制文化 作品，并且世界还没承认中国合法地位。这是为什么参加电影节的中国电影很少，只 有台湾的《清明上河图》（ 1960 ）和《爱的教育》（ 1961 ），及大陆的《红色娘子 军》（ 1971 ）这三个影片。上世纪七十年代威尼斯电影节的情况也并不简单，威尼斯 电影节进入了停顿状态。1968 年一些抗议活动遍及了全欧洲，也到达了各种电影节。 这场危机的结果使得威尼斯电影节从 1969 年到 1979 年未举行任何评奖活动，直到 1980 年，威尼斯电影节才又重新恢复奖项的评选。其中 1973 年、1977 年和 1978 年甚 至停办电影节。 八十年代的时候，华语电影正式地回归威尼斯。那时好多影片参加水城的电影 节：应云卫的《桃李劫》、凌子的《原野》、胡金铨的《忠烈图》、吴贻弓的《城南 旧事》、宋崇的《快乐的单身汉》、戴思杰的《高山庙》、徐克的《上海之夜》、梁 普智的《乒乓波》、滕文骥的《棋王》。这个时代中国最重要的成就是台湾新浪潮导 4 演侯孝贤的“台湾史诗”电影《悲情城市》，它首次夺得金狮奖。侯孝贤影片的背景 是台湾的“二·二八”事件。由此，从 1989 年，华语电影在威尼斯电影节翻开了新篇 章，开始被国际认可，并赢得了国际声誉。 第二章介绍华语电影在威尼斯电影节的情况：从二十世纪九十年代到去年 71 届 电影节。九十年代的时候华语电影越来越扬名，特别是在影坛与国际电影节上（比如 说张艺谋的《红高粱》夺得金熊奖）。 邓小平的“改革开放”对电影业有巨大好处：从那时起，跨国资本开始流动， 尤其是在中国大陆，香港和台湾之间。商业化的倾向已经无孔不入地侵入了整个电影 产业的肌体。这种跨国影片也达到威尼斯电影节，并取得了巨大成功：1991 年张艺谋 的《大红灯笼高高挂》赢得银狮奖；一年后他的影片《秋菊打官司》夺得第四十九届 金狮奖，而且这个影片的女主角巩俐夺得沃尔皮杯。1994 年，侯孝贤的继承人，蔡明 亮因为他的影片《爱情万岁》夺得大奖。本片展示了两男一女压抑空虚的内心世界， 这点博得了威尼斯评委的好评。同年最佳男演员沃尔皮杯奖颁给姜文的《阳光灿烂的 日子》的主角夏雨。1999 年对中国电影很重要：张艺谋的《一个都不能少》吸引了评 委，他再次赢得了金狮奖；独立电影导演张元也参加了第五十六届威尼斯电影节，他 的影片《过年回家》得到了评委认可，因此他获得了最佳导演的银狮奖。九十年代， 东方电影在威尼斯电影节也有其他代表：日本、越南，两个国家都赢得了金狮奖。二 十世纪末时，华语电影的胜利意味着在世界影坛刮起了不小的中国风。 最近几年参加威尼斯电影节的中华导演非常多：陈果、张扬、李玉、王家卫、 田状状、杨凡、杜琪峯、陈可辛、关锦鹏、吴宇森、杜海滨、李康生、唐晓白、罗卓 瑶、王兵、许鞍华、蔡尚君、王小帅等，他们都为巩固华语电影的身份作贡献。千禧 年的华语成就也不少。2001 年，伍仕贤的《车四十四》夺得第五十八届短片的评委会 特别奖；2002 年，田壮壮的《小城之春》赢得第五十九届圣马可最佳影片奖，陈果的 《人民公厕》夺得 “逆流而上 ”特别关注奖。2005 年，美国影片《断背山》的金狮奖是 由台湾导演李安赢得的。《断背山》之后，贾樟柯的《三峡好人》让华人骄傲。这部 电影的金狮奖也标志着中国第六代导演的成就与合法性，在世界影坛上逐渐赢得了与 第五代相同的位置。同年刘杰的《马背上的法庭》赢得地平线最佳影片奖。2007 年， 李安和贾樟柯在威尼斯电影节的出席再次成功：李安的《色·戒》夺得第六十四届最 5 佳影片金狮奖，而贾樟柯的《无用》赢得地平线纪录片奖。2010 年，中华导演的才能 被国际认可：吴宇森赢得终身成就奖。近几年中国记录片也越来越重要：2011 年蔡尚 君因为他的影片《人山人海》夺得最佳导演银狮奖，而叶德娴以《桃姐》赢得沃尔皮 杯的最佳女演员奖。2012 年，王兵的影片《三姊妹》夺得第六十九届地平线大奖；一 年后，蔡明亮的《郊游》夺得第七十届评审团大奖。到现在为止，华语电影在电影世 界全景占特写镜头的地位，肯定将来华语电影的成功会不断继续、获得成绩。 第三章分析国际电影节的现象，它的动态与结构，以便理解国际电影节的作 用，尤其是威尼斯电影节在华语电影的传播与让世界了解华语电影方面起到了重要的 作用。鉴于华语电影在威尼斯电影节的成就， 我们不得不强调水城电影节对中国电影 的重要性。华语电影的好命不仅是由中国影迷的电影节主席决定的，而是由国际电影 市场具体条件决定的。本章介绍这些条件，目的是深入了解中国电影通过国际电影 节，尤其是威尼斯电影节，是怎么达到当前的声望的。 威尼斯电影节风风雨雨地走到今天，它抗争好莱坞在电影市场的势力与影响、 保持自己的文化性格和身份。它是中国电影的重要舞台，它的著名奖项有助于中国电 影的声誉。 6 Avvertenze Nella presente trattazione i termini cinesi sono riportati in pinyin , sistema di trascrizione ufficiale adottato dalla Repubblica Popolare. Fanno eccezione i termini che utilizzano trascrizioni diverse, come nel caso del sistema Wade-Giles per i nomi taiwanesi (es. Ang Lee / An Li). Nel caso di artisti hongkonghesi, spesso conosciuti internazionalmente con i loro nomi inglesi, si utilizzerà il nome inglese seguito, tra parentesi, dal nome in pinyin e in caratteri. Es: Peter Ho-sun Chan (Chen Kexin 陈可辛 ). Le suddette informazioni verranno specificate solo alla prima occorrenza. Nel citare i titoli dei film viene utilizzato sempre il loro titolo originale seguito dalle relative specifiche solo alla prima occorrenza, in base al seguente schema: ⋅ film senza distribuzione italiana: titolo originale (titolo internazionale / traduzione letterale del titolo originale, regia, anno). Es. Kuaile de danshenhan 快乐的单身汉 (Happy batchelors / Gli allegri scapoli, Song Chong 宋崇 , 1983). ⋅ film con distribuzione italiana: titolo originale (traduzione letterale del titolo originale, se diverso dal titolo di distribuzione italiana / titolo distribuzione italiana , regia, anno). Es. Dahong denglong gaogao gua 大红灯笼高高挂 (Lanterne rosse in alto appese / Lanterne rosse, Zhang Yimou 张艺谋 , 1991). ⋅ film cantonesi: titolo originale (trascrizione pinyin / traduzione letterale del titolo originale / titolo di distribuzione italiana o internazionale , regia, anno). Es. Dungche Saiduk 东邪西毒 (Dongxie Xidu / Minaccia dell’est, Veleno dell’ovest / Ashes of time , Wong Kar Wai 王家卫 , 1994). ⋅ film italiani: titolo (regia, anno). Es. La grande muraglia (Carlo Lizzani, 1957). 7 Per quanto riguarda i film di cui non sono reperibili specifiche riguardanti il titolo o il regista (trascrizione cinese, titolo originale, ecc.), ci si limiterà a riportare le sole informazioni a disposizione. Le citazioni presenti nel testo verranno mantenute in lingua originale, tranne dove specificato diversamente. Per questioni pratiche la denominazione Mostra internazionale d’arte cinematografica di Venezia verrà, nel corso della trattazione, spesso abbreviata in “Mostra del cinema” o sostituita con “festival di Venezia”. 8 INTRODUZIONE In questo lavoro mi propongo di seguire la cronistoria della presenza cinese alla Mostra internazionale d’arte cinematografica di Venezia e di analizzare il fenomeno festivaliero in generale, in modo da capire le implicazioni della rassegna veneziana nella diffusione del cinema cinese all’estero. L’idea di questa tesi nasce a partire dal corso di Storia del cinema cinese tenuto dalla professoressa Elena Pollacchi e frequentato durante l’anno accademico 2012/2013, in particolare da una lezione tenuta in compresenza con il professor Michele Gottardi, docente di Storia dei festival cinematografici. La lezione verteva sulla sempre maggiore partecipazione cinese alle rassegne cinematografiche internazionali e sulle possibili motivazioni soggiacenti questo incremento, evidente a partire dalla fine degli anni Ottanta. L’interesse per l’argomento mi ha portato ad approfondire il caso della Mostra internazionale d’arte cinematografica di Venezia, avvalendomi anche della possibilità di svolgere ricerche presso l’Archivio storico delle arti contemporanee della Biennale. Se ci si limita a considerare i premi Oscar (la cui prima edizione si tenne il 16 maggio 1929) come un mero riconoscimento di merito assegnato dai soci dell’Academy of Motion Picture Arts and Sciences, la Mostra di Venezia può a ragione essere definita come il festival cinematografico più antico del mondo (6-21 agosto 1932). Le sue radici affondano nell’istituzione Biennale, la quale, includendo il cinema nel suo ventaglio di espressioni artistiche, non ha fatto altro che legittimare il suo status di Settima arte. La fondazione del festival veneziano si rivela presto una pietra miliare per la storia del cinema, dal momento in cui essa diventa un modello per altre manifestazioni (inizialmente solo europee), prima fra tutte la Mostra del cinema di Cannes, istituita per rappresentare un’alternativa all’influenza fascista esercitata a Venezia. Dopo la fine della Seconda guerra mondiale la Mostra ha chiaramente abbandonato le tendenze fasciste ed è diventata una manifestazione di prestigio internazionale, in grado di tenere testa ai nuovi festival che erano proliferati in tutta Europa. Ogni rassegna cinematografica ha poi sviluppato caratteristiche peculiari: se il festival di Berlino tende a 9 focalizzarsi su film che abbiano in qualche modo dei risvolti politici e Cannes a prestare molta attenzione al glamour, Venezia è più incline ad evitare il clamore e a propendere piuttosto per la novità, l’unicità e la specificità dei registi e dei film. Forse per questa sua tendenza al nuovo
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